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• 作者：拉格萨斯·朵勒阿 发布时间：2020-01-07 11:18:55

  20171223-0109

• 作者：瑶瑶的梦 发布时间：2022-10-05 21:30:41

  看到师昧竟然是1我内心一个大大的卧槽！师昧你清醒一点！你是0啊！我劝你放过师尊，两个0在一起是不会幸福的。

• 作者：Juno3 发布时间：2022-05-13 18:55:29

  简明扼要深入浅出，作为一本入门的读物挺不错。

• 作者：找不到昵称 发布时间：2020-04-15 15:19:47

  我们受困于时代，我们无法摆脱时代，我们在时代的裹挟中不可自拔，看看前人的选择，多些面对现实的勇气，吧。

• 作者：小银酱 发布时间：2017-03-16 10:29:57

  小山薰堂真是个乐观积极的人呐，到处给别人建议然后就做成了顾问。另外把公司前台做成面包房的想法真不错。

• 作者：Josie 发布时间：2019-05-29 21:52:43

  被小庄庄圈粉啦(´▽`ʃƪ)

• 心

  作者：yy 发布时间：2005-07-25 21:51:49

  《心》可以说是太强了

  只有三大章的故事，有太多太多的方面可以去叙述，简而言之就是主线明朗细节丰富。

  主线就是我和先生的来往。在旅行地偶遇先生的我对先生可谓是一见钟意，搭讪上之后便和先生长久地来往起来，先生对我有着强烈的吸引力，但是我却不知道我在先生心目中是怎样的，有时试探一番，却落得失落。回到东京后我时常去先生的住所探访，对先生和先生的妻更加熟悉起来，但是随着我和先生关系的增进，心生疑窦。先生的情绪，先生每周固定的扫墓，先生都不愿多说，而对我的热情，先生似乎也一直淡淡地甚至会提醒我，不要太信任他。

  副线是我和家里。我是个离家在京读书的大学生，家中的幼子，父亲因为肾病的原因身体虚弱甚至昏倒急召我回去，我毕业后再次回家，父亲开始经常把死字放在嘴边，加之天皇逝世的消息传来，使得父亲精神更差。我一方面不舍年迈的父亲一方面厌倦在乡下无所事事的生活希望回到东京。之间也不断地写过信给先生。

  最后一章是先生的遗书，解开了我其实也是读者心中的疑窦。

  给我最大感触的并不是《心》中每个人对待死亡的态度，而是其实人并不了解自己到底是怎样的，会做怎样的事，到底是理性能控制自己，还是感性。先生在父母病故后的叔父一家的种种作为，使得先生认定不能相信别人。可是最后，他自己却成为叔父这样的人。 不同的是，叔父没有这样的意识，没有这样的原则觉得自己是错的 先生有，这虽然是导致先生最后自杀的原因，但是这不是重点。

  人生就是不断的矛盾和解决矛盾，但是我们总是希望自己是有原则的。比如孝顺、忠心、善良、诚实等等。遇到过背叛的人应该更不允许自己再受到同样的背叛，也不允许自己去背叛别人。但是如果你的原则本来就是相互冲突的呢，和你的本性冲突了呢。应该怎样选择。在我，我会选择让以后的心都好过的道路去走。不管此刻是不是失大于得，只要未来的路心是宁静的，坦荡的，宁可这刻失去也罢。

• INTRODUCTION&AFTERWORD 文字很好 图片太好

  作者：Yuki Albran 发布时间：2022-03-21 23:00:44

  INTRODUCTION

  I start this conversation because....

  To be precise, on October 24, 2002,at six-thirty in the evening,in a small apartment located in the

  Chelsea section of New York City, something happened to me.I experienced the other side of a decisive moment-a photograph found me.It could only be this photograph. As the evening progressed,my thoughts kept returning to that image. Even when I was no longer near it and time had passed,it persistently reconstructed itself in my mind.That moment,and my surprise at seeing and being seduced by this photograph, had left its mark.

  The funny thing is,I never searched for the photographer or even wanted to know what the image was called,I just knew it was something I couldn't forget.A few years later, almost to the day,I saw the image again at the Photo New York Show in the booth of Modernbook Gallery,and a rich world of images by the artist Fan Ho was opened to me.But I will never forget that first moment and that first singular image's impression on me.

  Fan Ho's"Pattern"was a puzzle to me;a mystery,a spiral made of dark and light. Even though the viewer looks straight in on the scene,it also appears that one is looking down towards a great landscape,or up towards the highest tower.The modernist feel,of what else but patterns,is so heady that you almost miss seeing the little human figure going about his business, frozen for all time.Is that old posters or birds trying to escape?A new form of calligraphy?No, maybe just great hunks of old plaster.

  Are we sure?

  Tonight as I dwell on what was,for me,a haunting photograph and an introduction to someof the many photographs taken by this little known Master,an idea came to my feverish mind:

  There are no yesterdays....

  The accumulation of visual and cultural associations puts the past into the future EVERYDAY.I was thrown off balance because in 2002 I saw timelessness in Fan Ho's photographs.They are what they are,but they also bring an association of time,place,and history.I see cinema and film noir;I see Chinese paintings,surrealism, and German expressionism.I see elegant shadows like Frantisek Drtikol,I see the future world of Ridley Scott's"Blade Runner."I see a Hong Kong that is...?

  John A.Bennette-2006

  AFTERWORD

  To begin to describe the photography of Fan Ho, we must first introduce the man.But grasping the essence of Fan Ho the man can be as elusive as attempting to grasp water.

  At first glance, Ho is reserved and unassuming. However,what lies beneath this fagade is a man full ofemotion, romance,and compassion;what is truly the heart of an artist.

  Fan Ho is a voyeur;he watches and waits.The result of his patience is the creation of compelling images of a time and place that no longer exist.But beyond the physical space,Ho captures the mood and the atmosphere,that which is visceral and timeless.

  These early vintage photographs, developed and printed by Ho, are a document of his relentless search for the beauty which was hidden amongst the overcrowded chaos of everyday life in the Hong Kong of the 1950s and early 1960's.

  Through these images, one can trace the path of Fan Ho as an artist-from photographer to the vanguard of Asian film directors.

  Come share the journey with us.

  Mark Pinsukanjana

  Bryan Yedinak-2006

  精妙绝伦。何拍船时会让水闪光，波纹凝固成巧克力。有那种史诗化的广角镜头，会用顶光，但保留了会让人触动的细节

  《construction》《approaching shadow》《Evening in Aberdeen》极佳

  老旧的香港似乎“不会”被这么拍摄，其构图是“外来”的，非自然主义的，但成片却非常“香港”，如果我对香港有什么想象或stereotypr（中性描述），那就是何拍出来的样子